Interview with Parisa Shahmir, Jesus Christ Superstar
Conducted by Emmie for Theatre and Tonic
This summer, the passion, power, and devotion of Tim Rice and Andrew Lloyd Webber’s extraordinary rock opera, Jesus Christ Superstar, makes an exciting revival run at the Watermill Theatre. Known for their inspiring productions of musicals, including Lord of the Rings in 2023, the show has received plenty of critical acclaim already. We sat down and spoke with Parisa Shahmir, who stars as Mary to find out more.
1. Jesus Christ Superstar is a classic when it comes to musicals. What was it about the Watermill Theatre that drew your interest in it?
I’ve known about the Watermill for a while, and a few friends have previously worked here. It’s a beautiful theatre in an idyllic setting surrounded by nature so that was a massive plus for me! I also think, based on their previous productions, that the Watermill is really ambitious with the work it produces but always to its credit. It is a small theatre, but it doesn’t do small work, and the work it does is outstanding. I was really excited to be a part of that and recreate something so well known but with a different, more intimate edge.
2. What was your first encounter with this musical and what is it about it which you think enables it to stand the test of time?
I saw the musical a few years back at Regents Park and I was blown away. The music is so iconic, and I think that probably has something to do with its longevity. People just love the songs!
3. You play the role of Mary in this show. How did you approach portraying such an iconic and complex figure from both a historical and musical perspective?
Regardless of who I’m playing, and how well known or prominent they are, I always like to approach roles by exploring the human experience of someone behind the labels that society or history has imposed. When I watch theatre and someone is portraying a human rather than an idea, I find it so much more compelling, relatable, and interesting to watch. That’s something I’ve done my best to capture during this process, and working with Paul Hart (director) and Layla Madanat (associate director) helped facilitate exploring the humanity of Mary, something that every woman in the audience watching can relate to in some way or another.
4. This musical is known for its rock score - how do you think that supports your character throughout the show and the relationship they have with Jesus in particular?
Rock music is all about feelings. Passion, heart, and deep emotion, and so it’s cathartic to be able to express that emotion through the rock ballads that Mary sings in the show. Particularly in I Don’t Know How To Love Him.
5. This is an actor-musician production which is gaining quite a lot of popularity with shows like The Curious Case of Benjamin Button. What layer does this add to a show like Jesus Christ Superstar, and does it present any challenges in comparison to a more traditional show?
I’ve found it fascinating how well this show works as an actor-muso show. Putting it together in rehearsals, it was like, “wow, this really makes a lot of sense!” I think that the music and the orchestrations are key in the show; they are so nuanced and a valid part of the storytelling, so having each actor play a part of the score throughout the show adds an even deeper layer of storytelling. Stuart Morley, our musical supervisor, has done a brilliant job assigning instrument lines to various characters.
He’s thought a lot about what everyone should play. As the actor, you have to think “what am I playing here and why?” Particularly when you don’t have any dialogue in the scene/song. It’s not just because the song has a guitar part. I have to figure out my character's reason for engaging in this, which is an all-new kind of character work for me.
It’s challenging in the obvious way, that it’s a lot of music to learn. But I’ve actually found it very liberating. In any other production of JCS, Mary would probably be offstage for everything but her vocal numbers. In this iteration, she is onstage and privy to, if not included in, the action, for most of the show and this has informed a lot more of her journey for me. I’ve been able to discover it in the moment using the other actors and the action onstage, rather than imagining what’s happened in her offstage moments.
6. Are you bringing any personal experiences or perspectives to the way you are portraying Mary’s journey through this show?
Being a woman in 2025, it’s an interesting part to play, as in the time period when this piece was set, there were a lot of obvious differences about the way women were viewed and valued in society. I’ve done my best to bring a modern perspective to this interpretation of Mary and give her a bit more grit and backbone, especially in the moments when the disciples (particularly Judas) talk down to her.
7. Your song ‘I Don’t Know How To Love Him’ is a particularly powerful song in the show - how have you developed how you will perform it every night?
I think I keep coming back to her as a human being and just try to be as real and honest as possible. In whichever way that chooses to manifest in the performance each night, I do my best to honour it and go with it rather than prescribe something which I did the night before. The staging is also really supportive because I’m surrounded by the disciples during the song and so using them to play off of as I go through that journey every night helps me to keep it fresh and nuanced.
8. You’ve starred in The Last Ship and most recently Fisherman’s Friends: The Musical - have any of those shows prepared you for the more intimate setting of this theatre?
Both The Last Ship and FF were bigger houses, but both of them helped me hone my craft, and I’ve brought a lot of what I learned on those jobs forward with me. In terms of the intimate setting of the theatre, I think perhaps being a musician and a music artist has served me better in preparing for this theatre. I know my favourite gigs that either I play myself, or that I attend, are always the ones with a more intimate setting. Getting to connect with the artist who is stood a mere few metres from me, really experiencing the lyric and their emotional journey feels incredibly powerful. I’m really enjoying having the audience so close. You can really feel (and hear) their reactions. It’s a much more visceral experience as an audience member I think, and it allows you to make more subtle nuanced choices as the actor.
9. The Watermill Theatre is known for its innovative approach to musicals. How does Jesus Christ Superstar add to that? What can people expect from this production?
I think that tackling an epic musical like JCS is exactly the kind of thing that continues to make the Watermill such an exciting venue. We’re using so much of the Watermill itself to create this production. David Woodhead, our designer, has seamlessly built the set into the theatre so it looks like we’re in a church. We use the outside space which creates an almost immersive element to the show and then you’ve got every disciple playing a different musical instrument, sometimes standing right next to you which is quite thrilling to be able to experience the score up close and personal.
People can expect a really great night out, and also to experience the show like it’s never been seen before. There are high tenors, even lower basses, rock anthems, soothing ballads, cellos, eyeliner, trombones, tears, latex - there’s something for everyone!
10. What do you think is the most underrated song in this show?
I think John 19:41 is so beautiful. It’s usually an instrumental piece but in our version, Stu made a beautiful decision to use vocals to emulate various instrument lines which I think gives it such a different energy and allows us to bring more intention to it as a piece of music. It brings me to tears most nights, I think it’s such a gorgeous piece of music.
But in terms of a song with lyrics, I think Pilates Dream is beautiful, it’s a fleeting moment, but the melodies are gorgeous and they give a real moment of humanity and vulnerability for Pilate - a stark contrast to when we see him crack under the pressure in Act 2.
11. Finally, why should people book tickets to see Jesus Christ Superstar?
This show has been done a million times over, but this is a unique opportunity to experience the material on a much more intimate level in one of the most idyllic theatres in the UK. I’m also humbled every night by the sheer talent I’m surrounded by on stage, the voices, the musicianship, the movement, it’s truly magic - but don’t take my word for it, come buy a ticket and see for yourself!
Jesus Christ Superstar plays at Watermill Theatre until 21 September
